Pathways of the Mind
Exploring Sympathetic Resonance - second series
Following the creative intentions embraced by the Pathways project, this second series presents a perspective very different to that of the first series. Again, a recorded live concert performance in Kanazawa, Japan, this time on August 31, 2006, Phil Treloar explores percussion set-ups designed specifically for the occasion. Each of the three set-ups employed here were developed as an aspect intrinsic to performance preparation. This preparatory process took place over the course of two to three months with its primary focus being devoted to timbral concerns. In this respect an identifiable composition-like element (the timbral) has been mapped onto an otherwise improvised medium of spontaneous sound-making.
Program order was not predetermined. In production editing consisted in cutting from the recorded performance the first piece and the encore, and reducing time between items. The CD was published in 2006.
PROGRAM:
Resonance 1 (marimba) Moon of Wisdom - Mother Goddess, TARA 08:10
Resonance 2 (drums & metal) Dharma Drums of Akanista 10:16
Resonance 3 (marimba) Three Views from Shampo Snow Mountain 13:14
3.1 Rain of Flowers (04:18)
3.2 Rainbow Light (03:34)
3.3 Towards Copper Mountain (05:22)
Resonance 4 (extended drum-set) The Crossing at Wisdom Bridge 32:01
Dedicated to 4.1 Renunciation (06:21)
Laurie Bennett and 4.2 Facing Mara Papiyan (04:26)
Keith Kersey 4.3 Overcoming Mara Papiyan (03:49)
4.4 Four Noble Truths (07:51)
4.5 Sentient Pathway (09:34)
Resonance 5 (marimba) Light of Wisdom - Sherab Dronme (Machik Lapdron) 06:43
TOTAL MUSIC TIME 70:24
REVIEW:
Some art defragments the mind. Rather than cluttering, it seems to promote orderliness and clarity through its very grace, space and serenity. Hermann Hesse's The Glass Bead Game, J.S. Bach's music for solo instruments and some Japanese pottery are examples. Much of this second album of Phil Treloar solo percussion has that effect.
Recorded last year in concert in Japan, Treloar offers improvisations for marimba, drums and metal, and extended drum set. With his silken touch and self-made mallets, his marimba sounds are unique. Sometimes it can be as finely rounded as bamboo chimes being rustled by an easterly breeze, the note clusters shimmering into a harmonic heat haze out of which can emerge a stream of crystaline melodic invention.
His approach to playing drums is remarkably similar, the main difference being that the music is darker and more dramatic, even as he combines his glorious sounds with chord-like rigor.
(John Shand, The Sydney Morning Herald, February 10~11, 2007)